QuaverMusic Texas, Grade 3

Evaluation for 1.1a
Materials include a scope and sequence outlining the TEKS, ELPS, and concepts taught in the course.

The materials include a Scope and Sequence for each grade level on the program’s Curriculum Features and Best Practices page to assist educators with long-term planning. For each lesson, the Scope and Sequence provides the aligned Texas Essential Knowledge and Skills (TEKS) and English Language Proficiency Standards (ELPS) for each lesson. The Scope and Sequence also divides the program into modules, with each lesson numbered and titled and its purpose and objectives stated.

The materials include both the TEKS and the ELPS correlation tables on the program’s Curriculum Features and Best Practices page to support educators in knowing when the objectives cover the course TEKS. The materials provide correlations for each unit, identifying the exact activity and content type within a chapter that address the TEKS and the ELPS. The materials group the TEKS and the ELPS together with specific activities.

Evaluation for 1.1b
Materials include suggested pacing to support effective implementation for various instructional schedules (e.g., rotational schedules) and various instructional calendars (e.g., varying number of instructional days).

The materials include a Pacing Guide structured by lesson number and flexible based on the number of instructional days and the number of minutes per instructional period. The materials give educators options to extend, condense, or combine lessons to fit individual program needs. The Pacing Guide includes four examples of pacing for the curriculum (once-weekly, twice-weekly, daily, and every other week). Within each instructional schedule, the materials provide detailed instructions for implementing the curriculum effectively. The Pacing Guide also includes a “Quick-Reference Chart” to show various pacing examples. The detailed instructions provide information for each pacing scenario, including lesson frequency, modules covered, learning cycle per module, student experience, performance time, cross-curricular integration, and suggested extensions. The materials include a table showing lesson frequency by instructional frequency. These materials also offer a hybrid learning option, showing educators how to focus on nine or ten lessons instead of all 12, combining certain concepts and devoting more time to essential skills, such as rhythmic accuracy, melodic reading, and expressive performance.

The materials include pacing guides for educators at each grade level on the program’s Curriculum Features and Best Practices page to assist educators with their long-term planning. Each Pacing Guide is divided according to the instructional frequency available to the educator and the campus. The guide’s flexibility supports an equitable structure and curriculum integrity regardless of instructional availability. Additionally, each Pacing Guide provides the educator with the type of instruction they will deliver to ensure the lesson’s success.

Evaluation for 1.1c
Materials include an explanation for the rationale of unit order as well as how concepts to be learned connect throughout the course.

The materials offer a detailed description of the unit order, the rationale for the unit order, and the progression of skills (music fundamentals, singing, rhythmic concepts, melodic concepts, music literacy, music history, composition, instrument playing and recorder, and chords and harmony). The progression details how skills progress from grade K through grade 5. Each module cross-references the TEKS alignment with the unit’s rationale.

The materials include a purposeful approach to unit ordering and to how concepts develop over time, as outlined in its Curriculum Overview, a resource that educators review before instruction begins. This document includes sections, such as “Rationale,” “Scope and Sequence Rationale,” “Module Progression and Rationale,” and “Module Sequence Aligned to TEKS,” that explain why the content is organized the way it is. The overview outlines the overall instructional approach and shows how each module connects to the next. Musical concepts are introduced, practiced, and then expanded in later lessons so students continue building on what they have already learned. This progression helps create consistency across grade levels and supports students in developing a deeper, more connected understanding of music throughout the course.

Evaluation for 1.1d
Materials include protocols with corresponding guidance for unit and lesson internalization.

The materials include a Module-Level Overview for each module. These overviews assist educators in teaching each module and its lessons. The module summary and overview, unit preparation, instructional supports, and other pertinent information provide additional support for unit and lesson internalization.

The materials provide protocols and guidance to help educators prepare for and understand units and lessons before instruction. The Curriculum Overview is a central resource in this process with sections, such as “Rationale,” “Scope and Sequence Rationale,” “Module Progression and Rationale,” and “Module Sequence Aligned to TEKS.” These sections explain the purpose of each unit, how lessons are organized, and how concepts build over time. By using this resource, educators can approach instruction with a clear plan and a better understanding of how musical concepts develop across the course.

Evaluation for 1.1e
Materials include resources and guidance for instructional leaders to support teachers with implementing the materials as designed.

To ensure the materials are implemented with fidelity and used to their full potential, instructional leaders play an active role in supporting educators with the School-Level Implementation Guide. This guide provides school leaders with practical ways to guide instruction, monitor progress, and build a culture of success in music classrooms.

The materials provide resources and guidance that help instructional leaders support educators in using the materials as intended. The District-Level Implementation Guide organizes the curriculum into phases throughout the school year, with planning, implementation, and reflection. Each phase outlines specific actions, professional learning opportunities, and leadership supports that assist campuses and districts in preparing for instruction, monitoring progress, and making adjustments when needed. In this way, the materials help instructional leaders consistently and systematically support educators while remaining aligned with the program’s design.

Evaluation for 1.2a
Materials include comprehensive unit overviews that provide the background content knowledge and academic and discipline-specific vocabulary necessary to effectively teach the concepts in the unit.

The materials include unit overviews that provide background content knowledge in the core areas of rhythmic notation, recorder technique, musical form, dynamics and expressive elements, dynamics and tempo, melodic concepts, vocal development, historical and cultural context, harmony and tonality, and assessment strategies. Within each category, the materials outline key concepts, educator knowledge, and classroom application. Additionally, the materials include a grade-level instructional anchor chart featuring academic music vocabulary for each grade, with lesson correlations indicating where each term appears.

The materials provide background content knowledge and academic music vocabulary within each lesson. The materials list these items under the categories of “Keyword Vocabulary” and “Prior Knowledge.” The materials offer both categories on the student platform and in the educator narrative for each lesson.

Evaluation for 1.2b
Materials contain supports for families in both Spanish and English for each unit with suggestions on supporting the progress of their student.

The materials include English- and Spanish-language supports for lesson 2 “Meter Signs” so that families can reinforce learning at home. The materials provide bilingual guidance that explains how students are learning to recognize and perform different meter patterns and suggests simple at‑home activities, such as clapping, stepping, or tapping the beat while listening to familiar songs. These directions give caregivers clear, concrete ways to help students practice identifying meter and applying new music vocabulary outside of class, thereby supporting ongoing progress in the unit content.

The materials provide emergent bilingual learners with Spanish and English supports that help them access the music content alongside their peers. The materials include dual-language instructional screens, sentence stems, visual scaffolds, and linguistic accommodations that address listening, speaking, reading, and writing skills. Educators can draw on these features to scaffold instruction, clarify academic and music-specific vocabulary, and invite students to participate actively in musical tasks and discussions. By weaving language support into everyday lessons, the materials help emergent bilingual students grow in both English and Spanish while making sense of core musical concepts.

Evaluation for 1.3a
Materials include comprehensive, structured, detailed lesson plans that include objectives, questions, tasks, materials, and instructional assessments required to meet the content and language standards of the lesson (aligned with the TEKS and the ELPS).

The materials offer detailed lesson plans that include lesson purpose, key student objectives, standards alignment (with both the TEKS and the ELPS correlations), instructional depth, instructional resources, assessment plan, and detailed step-by-step instructions for each lesson. Each lesson includes a “Welcome and Engage” section (with learning objectives and academic music vocabulary), prior knowledge, direct instruction, practice and application, review and close, assessment, and extensions. Lesson plans have embedded links to the student portions of each lesson.

The materials provide tabs at the bottom of each student screen that provide the narrative for the overview, objectives, and keywords. The materials include a “Planning” tab in the settings menu on the student screen that links the educator back to the narrative lesson plan. The Module Lesson Overview provides a table with the TEKS, the ELPS, lesson objectives, instructional purpose, and assessment information.

Evaluation for 1.3b
Materials include a lesson overview listing the teacher and student materials necessary to effectively deliver the lesson (e.g., equipment, supplies, technology) and the suggested timing for each lesson component.

Within each lesson plan, the materials include the lesson purpose, key student objectives, standards alignment (the TEKS and the ELPS), instructional depth, instructional resources (materials, worksheets, music tracks, and timings for both regular and extension activities), and assessments.

Within the lesson plan sequence, the materials use individual timings for each activity listed in the color-coded headings. If a workbook activity is built in, the materials list this activity and include a hyperlink in the body of text. The materials also link worksheets in the student screens under the settings menu.

Evaluation for 1.3c
Materials include guidance on the effective use of lesson materials for extended practice (e.g., homework, extension, enrichment).

Each lesson includes a section that guides educators in extending the material beyond the core instructional sequence. This section identifies specific extension opportunities, such as follow‑up activities, independent practice, and family-supported tasks, and explains how each option connects back to the lesson objectives. Extension platforms vary but include printable worksheets students can complete outside the classroom and digital activities students access through their student accounts. Together, these tools provide structured guidance so that educators can assign extended practice that reinforces key skills and concepts rather than simply adding extra work.

The materials also offer enrichment and extension activities within the module overview documents to support effective use of lesson materials for extended practice. In these overviews, the materials list each enrichment or extension option, along with a brief description and a stated purpose, such as reinforcing a core concept, challenging students to apply skills in a new context, or encouraging creative exploration. The overviews indicate when in the module educators might use the activity, whether during class, as homework, or as an at‑home learning task, so that educators can select the most appropriate options for their students. This guidance helps ensure that extended practice is intentional, aligned to module goals, and feasible for a variety of instructional settings.

Evaluation for 2.1a
Materials include a variety of instructional assessments at the unit and lesson level (including diagnostic, formative, and summative) that vary in types of tasks and questions, including skills demonstration.

The materials offer diagnostic, formative, summative, and performance-based assessments at both the lesson and unit (module) levels. Lesson-level assessments include exit tickets that assess specific lesson objectives, while module-level assessments provide more comprehensive measures of learning across the unit. Performance-based assessments appear in each module and require students to demonstrate skills, such as singing, moving, or reading notation, while educators use the provided rubrics to consistently score performances. Additional assessments, including Train the Brain, Bach’s Brain, Ear Training, Quaver’s Quirky Quizzes, song-based quizzes, and Quiz Challenges, provide a range of item and task types, such as multiple-choice, matching, listening, and notation reading, that educators can use to monitor students’ understanding.

The materials include a variety of instructional assessments, including lesson-level formative assessments, module-level summative assessments, and diagnostic assessments that measure prior knowledge. These assessments use diverse question and task formats, such as multiple-choice items, matching tasks, listening examples, and performance demonstrations, to gather evidence of student learning. Performance assessments ask students to apply musical skills in context. Educators score the performance using rubrics that provide clear performance criteria. Together, these tools give educators multiple ways to check understanding and adjust instruction across the course.

Evaluation for 2.1b
Materials include the definition and intended purpose for the types of instructional assessments included.

Within each lesson plan, the materials include a section that identifies the formative and summative assessments and explains how educators should use them. The lesson plan describes where the assessment appears on the student screens, how the educator administers it, and the materials needed. In the assessment section near the end of the lesson, the materials state the assessment’s purpose and list the questions or prompts that guide the task. For example, in lesson 15 “Writing Notes and Rests,” the assessment section explains how the task checks students’ understanding of note and rest values.

The materials include a section in each module overview that defines the types of instructional assessments used in the module and explains their intended purposes. The overview identifies each assessment type, such as diagnostic, formative, and summative, and describes when in the module educators should administer it. The text explains how each assessment type supports student learning, such as identifying starting points, monitoring progress, or evaluating mastery of module goals. This guidance helps educators understand the role of each assessment in measuring student understanding over time.

Evaluation for 2.1c
Materials include teacher guidance to ensure consistent and accurate administration of instructional assessments.

The materials provide several assessment formats, including student self-assessment, peer assessment, and educator assessment, each supported by rubrics that describe performance expectations. The rubrics outline criteria and performance levels so that educators apply the same standards when scoring across classrooms and groups. The materials also include a formative assessment tool that helps educators select the most appropriate assessment type based on the task’s purpose, how students will respond, and the level of thinking required. This structure promotes consistent and accurate assessment administration within and across modules.

The materials include educator-facing guidance within lesson plans to support consistent administration of instructional assessments. Assessment sections indicate when to give the assessment during the lesson, how much time to allocate, and how students should be grouped (e.g., whole-class, small-group, individual work). The directions specify what the educator should say or do to introduce the assessment and how to collect student responses. These details help ensure that assessments are administered consistently across classrooms so that results accurately reflect students’ understanding.

Evaluation for 2.1d
Diagnostic, formative, and summative assessments are aligned to the TEKS and objectives of the course, unit, or lesson.

The materials embed diagnostic, formative, and summative assessments that align to the TEKS and to the course, module, and lesson objectives. For example, in lesson 5 “Musical Alphabet,” the lesson plan highlights an assessment in which students define and apply the musical alphabet while singing a folk song and improvising short melodic ideas. The educator observes how accurately students use the musical alphabet, connect the musical alphabet to pitch patterns in the song, and follow audience etiquette during recorded performances. The lesson lists the aligned TEKS and ELPS, explicitly connecting the assessment to state standards.

The materials show the TEKS and objective correlations in both the lesson plans and the lesson notes view. TEKS references appear in parentheses at the end of lesson sections so that educators see which standards each activity addresses. Interactive standards boxes appear throughout the lesson and can be selected to display the specific TEKS associated with an activity or assessment. In the assessment sections, these boxes also display IMRA citations, reinforcing that the assessment tasks align with the identified objectives and standards.

Evaluation for 2.1e
Instructional assessments include TEKS-aligned items at varying levels of complexity.

The materials include end-of-module assessments with TEKS-aligned items that measure students’ understanding of the extended pentatonic scale at multiple levels of complexity. Students first respond to items that ask them to identify notes and patterns within the scale. Later items require students to recognize melodic patterns in musical examples and show how the extended pentatonic scale is used in context. This progression from simple identification to application and interpretation allows educators to see how students handle increasingly complex thinking about pitch relationships.

The materials provide several ways for educators to confirm that the assessments address the TEKS at different levels of complexity. Formative assessments appear throughout lesson plans next to activities and include citations to the specific TEKS assessed. Module-level assessments and performance-based assessments also list the TEKS connections so that educators can see how individual items support the module and course objectives. Across these assessments, items range from recalling musical vocabulary to analyzing and performing musical patterns, reflecting a wide range of cognitive demands.

Evaluation for 2.2a
Instructional assessments and scoring information provide guidance for interpreting student performance.

The materials offer guidance to help educators interpret diagnostic assessment data and respond to students’ needs. A support resource titled Understanding and Analyzing Assessments includes a table that guides educators in analyzing diagnostic results, grouping students by performance level, and selecting instructional responses. The table describes how to interpret common data patterns and suggests next steps to help educators use diagnostic information to adjust instruction at the start of a unit or module.

The materials provide performance-based assessments with rubrics that describe four levels of achievement: emerging, approaching, meeting, and exceeding. Each rubric lists observable indicators of performance at each level so that educators know what the skill looks and sounds like in student work. These descriptors support consistent scoring of student performances and help educators understand the strengths and needs of individual students and groups. Educators can use this information to plan reteaching, extension, or targeted practice.

Evaluation for 2.2b
Materials provide guidance for the use of included tasks and activities to respond to student trends in performance on assessments.

The materials include formative assessments in many lessons and pairs the assessments with suggestions for how educators can respond to student results. For example, in lesson 6 “Rounds and Canons,” the lesson plan describes an assessment in which students sing “Robot Round” in two groups, maintaining their part while listening to the overlapping melody. The educator observes whether students hold their part without being pulled into the other group and invites students to rate their own accuracy at the end. This assessment helps the educator decide whether to repeat the activity, adjust groupings, or provide additional support in part-singing.

The materials include guidance in the lesson notes view and the lesson plans that show educators how to use follow-up tasks when assessment results signal a need for review. For example, in lesson 14 “Whole Notes and Whole Rests,” the materials offer suggestions for students who are working below grade level, such as reviewing steady beat, revisiting the difference between sound and silence, and reminding students that the beat continues through longer notes. These supports show educators how to adapt activities and provide targeted practice based on trends in student performance.

Evaluation for 2.2c
Materials include tools for teachers to track student progress and growth and tools for students to track their own progress and growth.

The materials include tools that help educators track student progress and growth across grade 3. The program provides an online gradebook and assessment trackers that allow educators to record scores, monitor performance on specific musical skills, and review trends across lessons and modules. These tools help educators identify students who need additional support or enrichment and inform decisions about reteaching, grouping, and pacing. By organizing assessment information in one place, the materials make it easier for educators to follow growth over time.

The materials provide tools that help students monitor their progress and growth. Student-facing rubrics, checklists, and self-assessment forms invite students to rate their performance, note questions they still have, and reflect on their strengths and learning goals. For example, one self-assessment form uses a thumbs-up or thumbs-down rating, includes fields for the skill and remaining questions, and is available in English and Spanish. These tools encourage students to take an active role in understanding their learning and support ongoing reflection throughout the year.

Evaluation for 3.1a
Materials include teacher guidance for differentiated instruction, activities, and/or paired (scaffolded) lessons for students who have not yet reached proficiency on content and skills in the course TEKS.

The materials include differentiation opportunities in the lessons, enabling educators to support students who have not yet reached proficiency. For example, the lesson “Extended Pentatonic Scales” includes a section titled “Review Below Grade Level Skills.” This section offers multiple suggestions for revisiting foundational pitch concepts from earlier grades. Later in the lesson, a “Differentiating Lesson Outputs” section shows educators how to tier tasks. Students demonstrate mastery in reading, writing, and improvising with the pentatonic scale through tiered activities. The lesson also includes a “Differentiation” box that suggests reading questions aloud. Students hold up fingers to indicate their answer choice, providing an accessible response format. These supports help educators adjust both the task and the response format while keeping the lesson focused on the same grade-level objective. The materials provide practical guidance for differentiated instruction and scaffolded access to the TEKS. The materials also include educator guidance for differentiated instruction and scaffolded access for students who have not yet reached proficiency.

The materials include a “Support Strategies” section in the lessons with targeted suggestions for students who are struggling and those who need additional enrichment. For example, the lesson “The Musical Alphabet” provides five support strategies, along with language support strategies, to help educators adjust instruction. These strategies appear in text boxes throughout the lesson. This placement allows educators to quickly identify and apply them during instruction rather than searching a separate resource. Because the supports are embedded in the lesson, educators can respond to student misunderstandings in real time. The combination of academic, musical, and language-based supports helps educators scaffold learning for students who need more direct help with concepts or directions. Therefore, the materials provide educator guidance for differentiated instruction and paired supports for students who have not yet reached proficiency.

Evaluation for 3.1b
Materials include pre-teaching or embedded supports for unfamiliar vocabulary and references in text (e.g., figurative language, idioms, academic and discipline-specific language).

The materials include keyword vocabulary in each lesson to support students with unfamiliar academic and music-specific terms. The “Welcome and Engage” section of each lesson lists and defines key vocabulary, states the essential question, and provides question stems to guide discussion. This structure helps educators pre-teach vocabulary before students begin the main learning tasks. Pre-teaching reduces confusion when new concepts appear later in the lesson. Students hear, see, and discuss important words in context instead of encountering them without support. The repeated use of essential questions and discussion stems also gives students structured language for discussing new musical concepts. Therefore, the materials provide embedded supports for unfamiliar vocabulary and discipline-specific language.

The materials reinforce both music-specific and general academic vocabulary through the “Literacy Connections” sections in the grade 3 module workbook. Workbook pages include “Literacy Connections” sections that use free-response, short-answer, and multiple-choice items to provide additional practice with key terms. These activities allow students to work with vocabulary in written formats. This structure supports students who need more repetition and a different mode of access than oral discussion alone. The written tasks also help educators see whether students can understand and apply words independently. Because vocabulary appears again in workbook activities, students revisit important terms across the module rather than only once in the initial lesson. Therefore, the materials provide embedded support for unfamiliar vocabulary and in-text references through repeated, structured practice.

Evaluation for 3.1c
Materials include teacher guidance for differentiated instruction, enrichment, and extension activities for students who have demonstrated proficiency in content and skills in the course TEKS.

The materials provide enrichment activities at the end of each lesson to extend learning for students who have demonstrated proficiency. The “Enrichment” section lists specific extension tasks that deepen or broaden the lesson’s skills. For example, the lesson “Form and Introduction” includes four enrichment activities. These activities challenge students to apply their understanding of musical form in new ways. The activities also give educators an immediate option for moving proficient students into more advanced thinking without leaving the lesson topic. Students continue practicing the same skill set at a higher level of independence or complexity. Therefore, the materials include educator guidance for differentiated instruction, enrichment, and extension activities for students who have demonstrated proficiency.

The materials also include an “Extension” section at the end of each lesson to provide additional activities that increase students’ understanding of the content. “Extension” tasks offer structured opportunities for students to revisit and expand on key skills after demonstrating basic proficiency. For example, the lesson “Melodic Movements” lists three extension activities that help students explore melodic movement more deeply. These activities allow educators to continue instruction with purpose instead of assigning unrelated extra work to students who finish early. By keeping the extension connected to the lesson objective, the materials support continued growth in content and skills. Therefore, the materials include clear guidance for extension work for students who have already shown proficiency.

Evaluation for 3.1d
Materials include teacher guidance for providing specially designed instruction (SDI) for students receiving supports and services through special education.

The materials embed specially designed instruction (SDI) supports within lessons to help educators assist students receiving special education services. Some SDI supports appear in “Differentiation” boxes, while others appear as SDI labels directly in the lesson text. For example in the lesson “Ostinatos,” the “Practice and Application” section includes a “Differentiation” box that gives educators guidance for supporting students with limited mobility. This embedded placement helps educators make adjustments at the exact point in the lesson where the support is needed. The support keeps students connected to the same musical objective while reducing barriers to participation. Therefore, the materials include educator guidance for providing specially designed instruction for students receiving supports and services through special education.

The materials also provide an “Accommodations and Modifications” section within lessons to guide educators in adapting instruction for individual needs. These sections describe specific adjustments, such as providing printed music and color-coding steps, skips, and leaps. These supports help students who need visual scaffolds to recognize intervals. For example, the lesson “Melodic Movement” details how to implement these supports in the “Practice and Application” sections. These recommendations help educators adjust the access point for the task without altering the musical focus. The guidance is specific enough that educators can apply it right away during instruction. These materials include practical support for SDI within daily lessons.

Evaluation for 3.2a
Materials include explicit (direct) prompts and guidance to support the teacher in modeling and explaining the concept(s) to be learned.

The materials offer directions in the lesson plans to support explicit modeling and explanation of concepts. Each screen includes a stated purpose and scripted guidance for instruction. This guidance covers handling materials and instruments, asking questions to prompt deeper thinking, and administering assessments and workbook activities. Educator guidance appears in sections, such as “Welcome and Engage,” “Prior Knowledge,” “Direct Instruction,” “Practice and Application,” “Review and Close,” “Assessment,” “Enrichment,” and “Extension.” This consistent structure helps educators know what to say, what to model, and how to move students through the learning sequence. The built-in prompts support clear explanations and reduce the amount of planning educators must do on their own. These materials include explicit direct prompts and guidance to support the educator in modeling and explaining the concepts to be learned.

The materials supplement lesson screens with module overviews that include “Teacher Preparation” sections. These sections provide guidance on unit preparation, background content knowledge, essential educator understandings, and essential student understandings. The module overviews help educators build a conceptual foundation before delivering instruction. This structure makes modeling and explanations more accurate and coherent. This structure also helps educators see how each lesson fits into the larger module sequence. Because educators receive both content knowledge and planning support, educators can explain concepts more clearly and purposefully. Therefore, the materials include explicit guidance that strengthens educator modeling and explanation of the concepts to be learned.

Evaluation for 3.2b
Materials include teacher guidance and recommendations for effective lesson delivery and facilitation using a variety of instructional approaches.

The materials provide detailed, sequential lesson plans to support effective lesson delivery. The lesson plans and lesson views outline educator actions for each part of the lesson. The lesson plans and lesson views also suggest educator-to-student, student-to-student, and student-to-educator dialogue. This structure helps educators facilitate discussions and activities that keep students engaged with the content. Because the sequence is clearly laid out, educators can maintain pacing and move students from one part of the lesson to the next with purpose. The suggested dialogue also supports consistent delivery across classrooms and helps educators prompt student participation. Therefore, the materials include educator guidance and recommendations for effective lesson delivery and facilitation using a variety of instructional approaches.

The materials incorporate a variety of instructional approaches into the lessons. These approaches include direct instruction, think-pair-share, independent workbook work, and whole-group activities, such as playing or singing. These approaches appear in both the lesson plan and the lesson view. Each screen links to its corresponding plan via a tab for quick access. This design gives educators ready guidance on how to vary instructional methods within and across lessons. Educators can move between modeling, discussion, partner work, and performance without leaving the structure of the lesson materials. Using multiple approaches supports engagement and allows educators to match strategies to content. Therefore, the materials include educator guidance and recommendations for facilitation using a variety of instructional approaches.

Evaluation for 3.2c
Materials support multiple types of practice (e.g., guided, independent, collaborative) and include guidance for teachers and recommended structures (e.g., whole group, small group, individual) to support effective implementation.

The materials provide multiple opportunities for guided, independent, and collaborative practice, along with structures for whole-group, small-group, and individual work. For example, in the lesson “Form and Introduction,” the “Practice and Application” section guides students as a whole group to label musical form on the board and signal section changes individually by raising their hands. The educator then uses the “Assessment Tracker” to record individual progress, connecting practice to ongoing monitoring. The “Makin It Up” section directs the educator to place students in small groups to play instruments. The “Cross-Curricular Connections” section has students read a story as a class, discuss mood with educator guidance, then work in small groups and share ideas with the whole class. These varied structures allow students to practice the same learning in different ways. The materials give educators clear recommendations for grouping throughout the lesson. Therefore, the materials support multiple types of practice and include guidance for effective implementation.

The materials include a “Student Agency” section in many lesson plans that incorporates guided, independent, and collaborative practice with clear group structures. For example, in the lesson “Writing Notes and Rests,” the “Student Agency” section allows the class to decide which part to play first and to read syllables or numbers together. Students then work in small groups with instruments to practice beat and rhythm while the educator listens and corrects errors. The lesson materials add a chord bordun so that students can play ostinato parts on unpitched percussion with a barred-instrument bordun. This design provides the educator with opportunities to observe individual skills in both small-group and whole-group settings. Students practice with support, make choices, and demonstrate what they can do within a collaborative structure. Therefore, the materials support multiple types of practice and recommended groupings for effective implementation.

Evaluation for 3.3a
Materials include teacher guidance on providing linguistic accommodations for various levels of language proficiency [as defined by the English Language Proficiency Standards (ELPS)], which are designed to engage students in using increasingly more academic and discipline-specific language.

The materials provide language-support strategies in the lessons and in the “Literacy Connections” sections in workbooks to support students at various levels of language proficiency. These supports include guidance for using correct music-specific and general academic vocabulary. For example, in the lesson “Classical Composers and Orchestra,” the “Workbook Connection” section offers language supports. Students also demonstrate language proficiency through the “Literacy Connections” workbook page. This design helps emergent bilingual students practice listening, speaking, reading, and writing during the music lesson rather than in a separate language activity. The supports allow educators to maintain grade-level content while adjusting language demands for student needs. Therefore, the materials include educator guidance on providing linguistic accommodations for various levels of language proficiency as defined by the ELPS.

The materials offer a guide titled Support for Emergent Bilingual Learners that outlines practical strategies for linguistic accommodation. The guide categorizes accommodations by proficiency level, including pre-production, beginning, intermediate, high intermediate, and advanced. The guide also provides examples for listening, speaking, reading, and writing tasks. These descriptions help educators select supports that align with student language development rather than using the same strategy for every student. The guide also helps educators connect language support directly to music instruction and classroom participation. Because the strategies are organized by proficiency level, educators can make targeted decisions that more closely match students’ language needs. Therefore, the materials include educator guidance on providing linguistic accommodations for various levels of language proficiency.

Evaluation for 3.3b
Materials include implementation guidance to support teachers in effectively using the materials in state-approved bilingual/ESL programs.

The materials provide an implementation guide for language supports in the music classroom. This guide helps educators use the materials in bilingual and English as a Second Language (ESL) programs. The guide also addresses topics, such as social versus academic language in music, key components of language support, second language acquisition knowledge and skills, language proficiency levels, and linguistic accommodations. This information gives educators a stronger understanding of how language development and music instruction can work together in the same classroom. This information also helps educators make more intentional decisions about supporting participation, comprehension, and vocabulary development. Because the guidance connects to classroom implementation, the guidance can inform both daily lesson planning and broader program use. Therefore, the materials include implementation guidance to support educators in effectively using the materials in state-approved bilingual and ESL programs.

The materials offer language options in the lessons, allowing educators to choose English, Spanish, or side-by-side displays for many activities. Language settings provide both visual text support and audio models for each language. For example, in the lesson “Lines and Spaces” on screen 2 “The Jolly Miller,” educators can select English-only, Spanish-only, or side-by-side English and Spanish. This built-in feature helps educators align instruction to the language needs of the classroom while keeping all students engaged in the same activity. The side-by-side option also supports cross-linguistic connections and makes the program more usable within bilingual and ESL settings. Therefore, the materials include implementation guidance that supports effective use in bilingual and ESL programs.

Evaluation for 3.3c
Materials include embedded guidance for teachers to support emergent bilingual students in developing academic and discipline-specific vocabulary, increasing comprehension, building background knowledge, and making cross-linguistic connections through oral and written discourse.

The materials embed support for emergent bilingual students in the lessons through “Language Support Strategies,” “Literacy Connections” sections in workbooks, and language options on the screens. In the lesson “Identifying Different Voices,” the keyword vocabulary lists discipline-specific terms used across the year. The “Language Support Strategy” section suggests using sentence stems and peer pairing to scaffold the use of academic vocabulary orally. On screen 10 “What Did We Learn Today?” students can select the keyword tab to revisit key terms. The corresponding workbook pages provide true/false, fill-in-the-blank, and other written tasks that allow students to practice vocabulary in written discourse. These supports help students increase comprehension, build background knowledge, and use music language in both oral and written forms. Therefore, the materials include embedded guidance for educators to support emergent bilingual students through oral and written discourse.

The materials offer end-of-module assessments in both English and Spanish to reinforce academic and discipline-specific vocabulary and support written discourse for emergent bilingual students. For example, in the module 4 “End-of-Module Assessment,” students use keyword vocabulary to answer multiple-choice, fill-in-the-blank, matching, and short narrative questions about the module content. Providing both English and Spanish versions allows students to draw on their full linguistic resources while demonstrating understanding. The assessment format also provides students with repeated exposure to important content vocabulary in written form. These bilingual assessment options support comprehension, background knowledge, and cross-linguistic connections while maintaining the academic focus of the lesson sequence. Therefore, the materials include embedded guidance for supporting emergent bilingual students in developing vocabulary and written discourse.

Evaluation for 3.3d
If designed for dual language immersion (DLI) programs, materials include resources that outline opportunities to address metalinguistic transfer from English to the partner language.

This guidance is not applicable because the program is not designed for dual language immersion (DLI) programs.

Evaluation for 4.1a
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic literacy in alignment with the course TEKS.

The materials provide lessons with explicit, direct instruction in rhythmic values, including how 16th notes are grouped and counted. For example, in lesson 13 “Sixteenth Notes” on screen 3 “Sixteenth Note Samba (Lyrics),” the educator explains that four 16th notes fit into one beat and are typically beamed together in groups of four. The lesson gives educators scripted language so that students can hear a clear, consistent explanation of how this rhythm relates to the beat. This direct explanation helps students connect what they see in notation to how the rhythm is performed and counted out loud. By repeatedly hearing and using this language, students develop a stronger understanding of written rhythmic values. Therefore, the materials include guidance for educators on providing explicit, direct instruction in discipline-specific artistic literacy aligned with the course TEKS.

The materials provide lessons with explicit, direct instruction in reading pitches on the staff and connecting them to solfège syllables. For example, in lesson 7 “Lines and Spaces” on screen 6 “Jolly Miller (Full Score),” educators follow lesson scripts that guide educators to point to each note, sing or say its solfège name, and have students echo the response. This step-by-step modeling reinforces the relationship between the written symbol and its sound. The repeated pairing of notation and solfège helps students decode melodic patterns rather than memorize isolated notes. Students gain practice reading from a full score while singing, which supports fluent music literacy. Therefore, the materials include guidance for educators on providing explicit, direct instruction in discipline-specific artistic literacy aligned with the course TEKS.

Evaluation for 4.1b
Materials explicitly connect new discipline-specific artistic literacy to prior learning across lessons and units within the course and across courses as applicable.

The materials explicitly connect new learning about the Classical period to students’ prior knowledge of the Baroque period. In lesson 11 “Classical Period Music” on screen 2 “Musical Periods Song,” the lesson asks students to discuss differences between the two periods and provides educators with sentence stems, such as “The Baroque Period was _____ because _____,” to help students compare musical characteristics using academic language. This structure helps students build new artistic literacy by linking new historical content to concepts they have already studied. Students learn about the Classical period as part of a larger sequence of musical development, not in isolation. Therefore, the materials support explicit connections to prior learning across lessons and units within the course.

The materials connect new rhythmic content to previously learned note and rest values through review language and comparison tasks. In lesson 14 “Whole Notes and Whole Rests” on screen 2 “Tic Qac Toe,” students revisit familiar rhythms, including half notes and rests, before learning about whole notes and whole rests. The lesson asks students to compare the new rhythmic values with familiar ones to see how the concepts relate. Page 2 of screen 4 “Whole Note and Whole Rest” reinforces this connection by displaying whole notes alongside previously learned notes, including half notes, quarter notes, and eighth notes. This progression helps students build on prior rhythmic understanding rather than treating each note value as a separate skill. Therefore, the materials support explicit connections to prior learning across lessons and units within the course.

Evaluation for 4.1c
Materials consistently provide opportunities for students to develop and use discipline-specific artistic literacy vocabulary.

The materials provide students with opportunities to develop artistic literacy vocabulary by matching music terms with their definitions and identifying them in listening examples. For example, in lesson 4 “Identifying Different Voices” on screen 7 “Vocal Definitions,” students practice connecting each term to the sound or concept it represents rather than memorizing definitions in isolation. This repeated use of music language helps students build a stronger understanding of voice-related terminology. As students listen, match, and discuss, they practice using vocabulary in meaningful musical contexts. Therefore, the materials consistently support the development and use of discipline-specific artistic literacy vocabulary.

The materials include interactive activities that require students to drag and place the correct vocabulary terms into blanks based on meaning. For example, in lesson 23 “Recorder 5/Blues” on screen 9 “QLibs Blues - Level 2” (Single Player), students select terms from a word bank and insert them into the correct blanks, which requires students to understand the terms well enough to apply them rather than simply recognize them. This kind of active vocabulary use strengthens recall and supports more accurate use of music language in later lessons. Students build confidence with artistic literacy terms as they use them in context during gameplay. Therefore, the materials consistently support the development and use of discipline-specific artistic literacy vocabulary.

Evaluation for 4.1d
Materials include activities and tasks that require students to demonstrate understanding of discipline-specific artistic literacy in alignment with the course TEKS.

The materials include activities that require students to demonstrate understanding of artistic literacy by describing musical selections and responding to them through movement and discussion. For example, in lesson 10 “The Classical Period” on screen 6 “Fast Tempo Classical Music,” students apply music vocabulary to real listening examples from a playlist rather than answering isolated questions. The formative assessment provides educators with a direct way to observe whether students can use the language appropriately when listening. This combination of verbal and physical response makes student understanding visible in multiple ways. Therefore, the materials require students to demonstrate an understanding of discipline-specific artistic literacy aligned with the course TEKS.

The materials also include tasks that ask students to demonstrate understanding of melodic direction through listening, movement, and drawing. For example, in lesson 7 “Lines and Spaces” on screen 15 “Classical Connections - Melody,” students first respond physically to what they hear, then represent the same idea visually, demonstrating understanding across different modes. This layered response helps confirm that students understand the concept instead of guessing a single answer. By connecting sound, movement, and drawing, the lesson makes discipline-specific artistic literacy concrete and observable. Therefore, the materials require students to demonstrate an understanding of discipline-specific artistic literacy aligned with the course TEKS.

Evaluation for 4.2a
Materials include guidance for teachers to provide explicit (direct) instruction in discipline-specific artistic skills at developmentally appropriate levels and in alignment with the course TEKS.

The materials provide lessons with explicit direct instruction in foundational recorder techniques through educator modeling and student imitation. In lesson 19 “Recorder 1/Woodwinds” on screen 5 “My Recorder (Lyrics),” the educator demonstrates each technique mentioned in the song, such as how to hold the recorder, and students imitate each step. The lesson also includes a “Review Below Grade Level Skills” section with additional guidance to help educators support students who need more foundational practice. This modeling-and-imitation approach ensures that students learn the correct physical technique from the first lesson before moving on to playing. Therefore, the materials include guidance for educators to provide explicit, direct instruction in discipline-specific artistic skills aligned with the course TEKS.

The materials provide lessons with explicit, direct instruction on playing the first recorder note, delivered through detailed, step-by-step educator guidance. In lesson 20 “Recorder 2/Woodwinds” on screen 5 “Walk Like a Mummy (Recorder Fingering Chart),” educators follow the guidance beginning in the eighth body of text and continuing through the eleventh, directly instructing students on how to produce the note B on the recorder. The sequential guidance gives educators precise language and steps to introduce fingering and tone production so that students build correct technique from the start. This focused instruction ensures that students learn the skill accurately before adding new notes. Therefore, the materials include guidance for educators to provide explicit, direct instruction in discipline-specific artistic skills aligned with the course TEKS.

Evaluation for 4.2b
Materials explicitly connect new discipline-specific artistic skills to prior learning across lessons and units within the course and across courses as applicable.

The materials explicitly connect new rhythm-writing skills to prior learning about steady beat, measures, notation, and strong and weak beats. In lesson 2 “Meter Sign” on screen 2 “Writing Rhythms Episode,” educators review these foundational ideas before students move into more advanced work on meter and rhythm creation. This sequence helps students build new artistic skills on top of the knowledge they already have from earlier grade levels. Students are better prepared to understand the new task because the lesson first activates their understanding of familiar musical concepts. Therefore, the materials support explicit connections between new artistic skills and prior learning across lessons and grades.

The materials also connect new recorder and tempo work to notes and terms introduced in earlier lessons. In lesson 26 “Recorder 8/Tempo” on screen 2 “Perry the Sheep (Animated Score),” students review familiar recorder notes, including B, A, and G, and previously learned tempo terms before applying them in the current lesson’s performance tasks. This structure helps students see the new skill as part of an ongoing learning progression instead of a separate activity. The lesson builds continuity by asking students to combine prior knowledge of notes with newer interpretive skills. Therefore, the materials support explicit connections between new artistic skills and prior learning across lessons and units within the course.

Evaluation for 4.2c
Materials provide opportunities for students to develop discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.

The materials provide students with opportunities to develop artistic skills through performance by having them practice a rhythm and then perform the song together. In lesson 20 “Recorder 2/Woodwinds” on screen 3 “My Recorder (Full Score),” the lesson transitions from supported rehearsal to shared performance, helping students apply the skill in a musical context. This structure gives students repeated chances to build fluency before they perform. As a result, the performance task becomes a meaningful demonstration of the development of rhythmic skill rather than a one-time attempt. Therefore, the materials provide opportunities for students to develop discipline-specific artistic skills through performing at developmentally appropriate levels and in alignment with the course TEKS.

The materials also develop artistic skills through a formative assessment of singing in a round. In lesson 6 “Rounds and Canons” on screen 5 “Robot Round (Lyrics),” students sing the selection while the educator tracks progress as part of a larger sequence that includes diagnostic, formative, and summative assessment across the year. This structure shows that the performance skill is developed over time through repeated practice and monitored instruction. Students continue refining tuneful singing as they revisit and strengthen the skill across multiple lessons. Therefore, the materials provide opportunities for students to develop discipline-specific artistic skills through performing at developmentally appropriate levels and in alignment with the course TEKS.

Evaluation for 4.2d
Materials provide opportunities for students to refine discipline-specific artistic skills through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.

The materials provide students with opportunities to refine recorder skills through performance tasks that increase in tempo and difficulty over time. In lesson 21 “Recorder 3/Woodwinds” on screen 6 “Baba Oo La La (Tempo Challenge),” students first play at a slower tempo, then move to faster tempi, including moderato and allegro, which increases the challenge while keeping the musical material familiar. This progression helps students strengthen control, accuracy, and fluency as the task becomes more demanding. The lesson makes the increased rigor visible by asking students to maintain performance quality as speed changes. Therefore, the materials provide opportunities for students to refine discipline-specific artistic skills through tasks that progressively increase in rigor and complexity over lessons and units.

The materials also support skill refinement through peer feedback and revision during recorder performance. In lesson 23 “Recorder 5/Blues” on screen 5 “Hot Cross Buns (Animated Score),” students perform for a partner, receive feedback, and apply it to improve their next performance. This process helps students reflect on their playing and make specific adjustments instead of simply repeating the same attempt. The cycle of performing, responding, and revising strengthens both skill accuracy and student ownership of improvement. Therefore, the materials provide opportunities for students to refine discipline-specific artistic skills through tasks that progressively increase in rigor and complexity over lessons and units.

Evaluation for 4.2e
Materials include activities and tasks that require students to demonstrate mastery of discipline-specific artistic skills through performing, exhibiting, or presenting artistic works at developmentally appropriate levels and in alignment with the course TEKS.

The materials include performance assessments that require students to demonstrate mastery of recorder skills using a rubric. In lesson 25, “Recorder 7/Tempo,” on screen 6, “Level Up (Full Score),” educators evaluate students on accurate intonation while performing a song, providing educators with clear evidence of whether the skill has moved beyond practice and into mastery. The rubric on screen 11, “Level Up (Full Score)—Rubric (TX 3LP25),” adds structure by defining what successful performance should sound like. This structure makes the assessment more precise and helps students understand the expectations for strong musical performance.

The materials require students to demonstrate mastery through a summative performance assessment in which they select songs and perform them for evaluation. For example, in lesson 30, “Recorder 12/Chords and Harmony,” students choose three songs from the list to perform and are evaluated on their performance. This task asks students to bring together multiple recorder skills in a finished performance setting. Scoring criteria includes musical accuracy, correct technique, and musicianship, which shows that the assessment measures more than simple completion. The use of the rubric provides a clear structure for determining whether students have reached mastery.

Evaluation for 4.3a
Materials provide opportunities for students to explore a variety of discipline-specific art forms (e.g., variety of media, variety of performance genres and styles).

The materials provide opportunities for students to explore a variety of musical genres, styles, and cultural traditions through listening, singing, and movement. In lesson 12 “Classical Composers and Orchestra,” screen 11 presents a “Style Detectives” activity. Students identify each style they heard, then discuss their reasoning using vocabulary that describes the style and/or period. The lesson structures this activity to build both identification and verbal explanation of stylistic differences. Therefore, the materials include opportunities for students to identify and describe musical styles and genres.

Lesson 22 “Recorder 4/Blues” includes opportunities for students to identify and describe musical styles and genres. Screen 8 of this lesson includes a section “The Blues Episode” with a “Workbook Connection” box, which provides educators with prompts for student discussion. Students discuss the characteristics of blues music in this structured conversation. This lesson is one of many genres and styles included throughout the materials, creating variety across the course. Therefore, the materials include opportunities for students to identify and describe musical styles and genres.

Evaluation for 4.3b
Materials provide opportunities for students to create, adapt, or extend discipline-specific artistic works for performance, exhibition, or presentation (in line with appropriate fair use and copyright).

The materials embed creative composition tasks into the lessons, allowing students to create and perform original musical works. In lesson 9 “Extended Pentatonic Scales,” screen 6 presents “Playing the Pentatonic,” and students create a melodic ostinato to add to a provided accompaniment. In the “Extension” section, students use known rhythms and the G extended pentatonic scale to create an original composition. The lesson introduces the scale earlier and builds directly toward student-created work. Therefore, the materials include opportunities for students to create and perform musical works.

Lesson 5 “The Musical Alphabet” embeds creative composition tasks, allowing students to create and perform original musical works. Students improvise their own accompaniment to the familiar folk song “Bought Me a Cat.” This song was first introduced in grade 1, lesson 12, and then built upon in grade 2, lesson 23. Subsequent sections provide educators with explicit instructions for scaffolding the improvisation activity. This progression supports students as they build on prior knowledge to create new musical work. Therefore, the materials include opportunities for students to create and perform musical works.

Evaluation for 4.3c
Materials include guidance for teachers on promoting student agency in making or selecting discipline-specific artistic works for study, performance, exhibition, or presentation.

The materials include student agency activities in the lessons that give students opportunities to make and reflect on musical choices. For example, in lesson 3 “Ostinatos,” screen 5 presents an “Improvisation” section with a “Student Agency” subsection in which students choose a rhythm they created in the previous screen to play as an ostinato. Then, students improvise a rhythmic pattern that requires individual musical choices. Educators receive discussion prompts to guide students to analyze those choices. The lesson actively promotes student ownership of musical decision-making. Therefore, the materials include opportunities for students to make musical choices and reflect on their selections.

The materials provide educator guidance that encourages student agency through meaningful choices in creating, selecting, and presenting musical ideas. In lesson 20 “Recorder 2/Woodwinds,” screen 6 presents “Walk Like a Mummy (Recorder Olympics)” with a “Student Agency” subsection in which students examine three performance levels—gold, silver, or bronze—displayed on the screen. Students choose the level they feel they would perform best. Students then perform their chosen level for the class. This structure gives students meaningful agency over their own performance decisions. Therefore, the materials include opportunities for students to make musical choices and reflect on their selections.

Evaluation for 5.1a
Materials include guidance for teachers to provide explicit (direct) instruction in interpreting, evaluating, and responding to discipline-specific artistic works of other artists at the level of depth and complexity required by the course TEKS.

The materials provide educator guidance to support students in interpreting, evaluating, and responding to artistic works through movement. Movement Video Instructional Guide - The Magic Flute: Pamina and Papageno Duet, includes an “Expressive Elements” section that provides educators with explicit instructions for teaching students to respond to listening examples through movement. The prompts give the educator a script to follow during instruction. Educators guide students in identifying what to listen for, how to interpret it, and how to respond through movement. Expressive elements suggested for movement response include rhythms, tempo, and timbre. Therefore, the materials include educator guidance for supporting students in interpreting, evaluating, and responding to artistic works.

The materials provide explicit educator guidance to help students interpret, evaluate, and respond to a musical performance through movement. Movement Video Instructional Guide - Music for the Royal Fireworks: La Réjouissance includes an “Expressive Elements” section that provides educators with explicit instructions for teaching students to respond to listening examples through movement. The prompts give the educator a script to follow during instruction. Educators guide students in identifying what to listen for, how to interpret it, and how to respond through movement. Expressive elements suggested for movement response include instrument timbre, dynamics, and tonality. Therefore, the materials include educator guidance for supporting students in interpreting, evaluating, and responding to artistic works.

Evaluation for 5.1b
Materials emphasize the use of discipline-specific vocabulary in interpreting, evaluating, and responding to artistic works.

The materials provide lessons that offer students opportunities to use discipline-specific vocabulary to evaluate and respond to musical works. For example, in lesson 2 “Meter Sign” screen 12 presents “Instrument Crane” with a “Collaborative Discussion” subsection in which students identify the instrument shown and explain its sound and timbre using accurate musical vocabulary. In the “Collaborative Discussion,” educators receive prompts to guide students in discussing the expressive elements of each musical example. Students use music vocabulary throughout to support their explanations. Therefore, the materials include opportunities for students to use discipline-specific vocabulary to evaluate and respond to musical works.

In lesson 18 “Identifying Dynamics,” screen 5 “Dynamic Signs” emphasizes discipline-specific vocabulary by guiding students to use musical terms as they interpret and respond to a musical work. Educators first review all known dynamic terms and symbols with the class. Students then listen to two to three minutes of each piece in the playlist. Students use dynamic flashcards to respond to what they hear. This guided practice helps students apply music vocabulary related to dynamics to describe and explain the music. Therefore, the materials include opportunities for students to use discipline-specific vocabulary to evaluate and respond to musical works.

Evaluation for 5.1c
Materials provide opportunities for students to practice interpreting, evaluating, and responding to discipline-specific artistic works of other artists through activities and tasks that progressively increase in rigor and complexity over lessons and units within the course.

The materials include listening activities that guide students in interpreting and responding to musical works using musical vocabulary. For example, in lesson 7 “Lines and Spaces,” screen 8 presents “Bagatelle No. 25 in A minor (Für Elise) (Composer Profile)” in which students listen and describe what they hear using music vocabulary. Students pay attention to pitches, melodic direction, dynamics, instrumentation, and overall emotion or mood. The lesson directs students to use specific musical terms as they form and share their observations. Therefore, the materials include opportunities for students to listen to, interpret, and respond to musical works using musical vocabulary.

The materials include listening activities that guide students in interpreting and responding to musical works using musical vocabulary. In lesson 10 “The Classical Period,” screen 6 presents “Fast Tempo Classical Music” in which students make a list with the headings “Tempo,” “Instruments Heard,” “Dynamics,” and “Extra.” Students describe the two pieces they heard using specific musical vocabulary. Students write their observations under the appropriate heading. This structured activity reinforces the use of musical terminology in listening responses. Therefore, the materials include opportunities for students to listen to, interpret, and respond to musical works using musical vocabulary.

Evaluation for 5.2a
Materials include guidance for teachers to provide explicit (direct) instruction in giving and receiving feedback on discipline-specific artistic works to self and other students.

The materials provide lessons with guidance for educators to deliver explicit feedback. For example, in lesson 11 “Classical Period Music” on screen 2 “Musical Periods Song,” the “Feedback Strategy” box guides this instruction. The lesson directs students to share their created rhythm improvisation with a partner. The lesson instructs students to offer positive feedback and suggestions for improvement. Educators model this feedback exchange to directly reinforce the skill. Therefore, the materials include guidance for educators on providing explicit, direct instruction in giving and receiving feedback on discipline-specific artistic works to self and other students.

The materials provide lessons with guidance for educators to explicitly instruct students in giving peer feedback. For example, in lesson 5 “Musical Alphabet,” screen 6 “Make It Your Own” directs students to give feedback to a partner about their improvisation. The lesson identifies creativity and the use of the musical alphabet as examples of feedback aspects. Educators guide students through this structured feedback exchange. Therefore, the materials include guidance for educators on providing explicit, direct instruction in giving and receiving feedback on discipline-specific artistic works to self and other students.

Evaluation for 5.2b
Materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.

The materials provide lessons that offer students opportunities to give feedback on their classmates’ artistic work. For example, in lesson 11 “Classical Period Music” on screen 2 “Musical Periods Song,” students share their created rhythm improvisation with a partner. The “Feedback Strategy” box guides this sharing activity. Students offer positive feedback and suggestions for improvement to their partner. This exchange gives students direct practice in evaluating a peer’s creative work. Therefore, the materials provide opportunities for students to give feedback on discipline-specific artistic works created by other students.

In lesson 5 “Musical Alphabet” on screen 6 “Make It Your Own,” students perform their own improvisation for a partner, and other students to give feedback on the improvisation. Students give feedback about the partner’s creativity and use of the musical alphabet. Students practice naming specific strengths in a peer’s original work. These collaborative sharing experiences help students practice giving constructive feedback while appreciating a variety of creative responses to music.

Evaluation for 5.2c
Materials provide opportunities for students to receive feedback on their discipline-specific artistic works from teachers and other students.

The materials provide opportunities for students to receive feedback from educators and peers. For example, in lesson 4 “Identifying Different Voices” on screen 12 “Kye Kye Kule (Movement Videos),” students receive feedback in two ways. Educators use clarifying questions and example feedback statements. Students provide feedback to each other on their movement performance. Educators also remind students to be specific and positive when giving constructive feedback. Therefore, the materials provide opportunities for students to receive feedback on their discipline-specific artistic works from educators and peers.

The materials offer students opportunities to receive feedback from their peers. In lesson 23 “Recorder 5/Blues” on screen 5 “Hot Cross Buns (Animated Score),” students perform for a partner. Students receive one comment on something done well and one area for improvement from their partners. The lesson names steady beat, correct notes, and clear sound as example focus areas. This consistent approach ensures that students receive constructive input directly from their peers, supporting their reflection, collaboration, and continued artistic growth.

Evaluation for 5.2d
Materials include guidance for teachers to provide feedback to students to refine their discipline-specific artistic works.

The materials provide guidance for educators to give feedback that helps students refine their work. For example, in lesson 13 “Sixteenth Notes” on screen 6 “Meters of 2, 3, and 4 - Level 2,” the “Feedback Strategy” box addresses this guidance and leads into a “Teacher Feedback” section. This section guides educators to ask clarifying questions. Educators use these questions and suggestions to help students improve their written and performed work. Therefore, the materials include guidance for educators to provide feedback to students to refine their discipline-specific artistic works.

The lessons guide educators in providing explicit guidance to help students improve their performance through ongoing feedback and modeling. For example, in lesson 2 “Meter Sign” on screen 8 “Meters of 2,” the “Feedback Strategy” box provides this guidance. Educators address accuracy and ensemble playing in their comments. Educators give students suggestions on how to refine their performances. Students use this feedback to improve their next attempt at the piece. This structured coaching helps students strengthen performance habits and apply educator feedback to improve the quality of their musical performances.

Evaluation for 5.2e
Materials provide opportunities for students to engage in self-reflection or self-evaluation to refine their discipline-specific artistic works.

The materials provide opportunities for students to self-evaluate their performances. In lesson 25 “Recorder 7/Tempo” on screen 6 “Level Up (Full Score),” the “Feedback Strategy” box guides this self-evaluation. Students self-evaluate their intonation while playing long tones on G and use this reflection to identify areas for improvement in their playing. Therefore, the materials provide opportunities for students to engage in self-reflection or self-evaluation to refine their discipline-specific artistic works.

The materials require students to reflect on their musical learning and identify next steps for improvement. In lesson 23 “Recorder 5/Blues” on screen 4 “Hot Cross Buns (Full Score),” the “Feedback Strategy” box guides this reflection through self-evaluation materials. Students evaluate their own performances using four provided statements. Students later refine their performances on the next screen and again on screen 10. This structure gives students repeated chances to apply their self-evaluation. By giving students regular opportunities for guided self-reflection, the lesson materials encourage students to take an active role in refining their discipline-specific artistic skills.

Evaluation for 6.1a
Materials include guidance for teachers to provide explicit (direct) instruction on cross-curricular connections within and across the fine arts disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.

The materials include guidance for educators to deliver direct instruction on cross-curricular connections. In lesson 14 “Whole Notes and Whole Rests” on screen 10 “The Big Picture,” educators lead a class discussion about connecting note durations to other divisible things in the world. The text gives educators examples to guide this discussion. Educators use these examples to help students see parallels between math and science in music. Therefore, the materials include guidance for educators to provide explicit direct instruction on cross-curricular connections within and across the fine arts disciplines and between fine arts and core academic subjects.

The materials provide educators with explicit guidance on connecting music instruction to core academic subjects, such as science. In lesson 19 “Recorder 1/Woodwinds” on screen 4 “My Recorder (The Recorder Family),” the “Cross-Curricular Connection” box addresses this instruction. The text explains that larger tube sizes produce larger sound waves and lower sounds. Educators explain that this scientific principle applies across instrument families. Students connect this science concept to pitch differences among instruments. These educator-directed experiences reinforce musical learning while helping students make meaningful connections to science as a core subject.

Evaluation for 6.1b
Materials provide opportunities for students to explore cross-curricular connections within and across the various fine art disciplines and between fine arts and core academic subjects (e.g., literacy, math, social studies, science) as applicable.

The materials provide opportunities for students to explore cross-curricular connections. In lesson 16 “Mezzo Forte, Mezzo Piano, and Sforzando” on screen 7 “My Dynamic Adventures,” students connect music to English language arts. Students create a story using music vocabulary words related to dynamics. The “Workbook Connection” box links to a worksheet in which students write their own sentences using this vocabulary. Therefore, the materials provide opportunities for students to explore cross-curricular connections within and across the fine arts disciplines and between the fine arts and core academic subjects.

The lessons encourage students to discover meaningful connections between music and core academic subjects through music literacy activities. In lesson 12 “Classical Composers and Orchestra” on screen 2 “The Classical Period Song,” students connect music to writing. The “Workbook Connection” box guides students in creating and describing their own music. The box links to a student worksheet for this task. Students plan and write a paragraph describing their created piece. These learning experiences reinforce foundational literacy concepts while helping students recognize the applications of writing to the development of music knowledge and skills.

Evaluation for 6.2a
Materials include guidance for teachers to provide explicit (direct) instruction on relevant discipline-specific historical and cultural context in alignment with the course TEKS.

The materials include guidance for educators to deliver direct instruction on historical and cultural context. In lesson 33 “Combining Form Elements” on screen 3 “Where is the Red River Valley?” educators explain the background of the song. The materials also include a discussion question to help educators facilitate student conversation. This instruction aligns with the TEKS 3.5.C.i. Therefore, the materials include guidance for educators to provide explicit, direct instruction on relevant, discipline-specific historical and cultural context aligned with the course TEKS.

The materials provide educators with clear instructional support for connecting musical learning to historical events and traditions. In lesson 22 “Recorder 4/Blues” on screen 3 “Feelin’ Blue,” the “Cross-Curricular Connection” box addresses this instruction. Educators receive information on the blues and its cultural origins. The text also provides discussion prompts to help educators facilitate conversation. This instruction aligns with the TEKS 3.5.B. This instructional approach helps students understand how musical works reflect the people, places, and traditions from which they originated.

Evaluation for 6.2b
Materials provide opportunities for students to explore a variety of discipline-specific artistic works and traditions (e.g., variety of historical and contemporary artistic works, artistic traditions from diverse cultures).

The materials offer students opportunities to explore artistic works and traditions from diverse cultures. In lesson 3 “Ostinatos” on screen 11, students access the “Jazz Book - Advanced.” In the “New Sounds in New Orleans” section, the book explains the culture from which jazz emerged. Students explore the historical and cultural context of jazz music throughout the book. The book includes audio examples and a quiz that assesses this knowledge. Therefore, the materials provide opportunities for students to explore a variety of discipline-specific artistic works and traditions.

The materials include lessons that offer students a variety of musical traditions through folk songs and research activities in other cultures. In lesson 29 “Recorder 11/Chords and Harmony” on screen 10 “Quaver’s Jig (Animated Score),” students explore Irish dance music. The “Cross-Curricular Connection: History” heading guides this research task. Students research the history of Irish dance music online. Students then write one to three paragraphs and explain what they learned. These experiences broaden students’ appreciation of the many ways in which people create and share music across different communities and traditions.

Evaluation for 6.2c
Materials include activities and tasks that require students to demonstrate understanding of relevant discipline-specific historical and cultural context in alignment with the course TEKS.

The materials include lessons with activities that require students to demonstrate their understanding of historical and cultural context. In lesson 22 “Recorder 4/Blues” on screen 11 “Blues (Quirky Quiz),” the “Workbook Connection” box contains this assessment. Questions 2, 3, and 10 formatively assess student understanding of the blues. Students demonstrate their grasp of the style’s historical and cultural connections. This assessment aligns with the TEKS 3.5.B. Therefore, the materials include activities and tasks that require students to demonstrate understanding of relevant discipline-specific historical and cultural context in alignment with the course TEKS.

The lessons provide students with opportunities to demonstrate their understanding of historical and cultural musical traditions through interactive learning and assessment. In lesson 33 “Combining Form Elements” on screen 08 “3rd - Module 11 - Form Assessment (TX),” students complete a summative assessment. The question beginning with “What do folk songs” assesses this understanding. Students demonstrate knowledge of the historical and cultural connection to “Red River Valley.” This assessment aligns with the TEKS 3.5.C. These assessments require students to apply their understanding of music as a reflection of cultural traditions through purposeful performance and classroom discussion.